Acceso usuarios
Andrea Luquin Calvo
Este artículo se adentra en el ‘topos exílico’ de la comunidad surrealista europea en México a través de los vínculos creativos entre Remedios Varo y Leonora Carrington. Ambas artistas configuran una ‘heterotopía’ que funciona como un espacio ‘trans-doméstico’: un espacio performativo y creativo donde, desde su exilio-género, transforman y superaran el significado de los espacios domésticos-cotidianos mediante propuestas plásticas y discursivas críticas. Su obra teatral conjunta El Santo Cuerpo Grasoso, ejemplifica este contra-espacio lúdico-performativo que permite la subversión de discursos surrealistas, patriarcales y de género.
This paper explores the ‘exilic topos’ of the European Surrealist community in Mexico, through the creative connections between Remedios Varo and Leonora Carrington. Both artists construct a ‘heterotopia’ that operates as a ‘trans-domestic’ space: a performative and creative sphere where, from the standpoint of their exile-gender, they transform and transcend the meanings of everyday domestic spaces through critical artistic and discursive proposals. Their collaborative theatrical work, El Santo Cuerpo Grasoso, exemplifies this playful-performative counter-space that enables the subversion of surrealist, patriarchal and gender discourses.
This paper explores the ‘exilic topos’of the European Surrealist community in Mexico, through the creative connectionsbetween Remedios Varo and Leonora Carrington. Both artists construct a ‘heterotopia’ that operates as a ‘trans-domestic’ space: a performative and creative sphere where, from the standpoint of their exile-gender, they transform and transcend the meanings of everyday domestic spaces through critical artistic and discursive proposals.Their collaborativetheatricalwork, El Santo Cuerpo Grasoso, exemplifies this playful-performative counter-space that enables the subversion of surrealist, patriarchaland gender discourses.
